Italian painter, Venetian school (b. 1659, Belluno, d. 1734,
Venezia).
Gemälde ID:: 8922
Die Verehrung des Magi 1726-30
Oil on canvas, 330,2 x 289,6 cm
Royal Collection, 1726-30 Öle auf Leinwand, 330.2 X 289.6 cm Königlicher Sammlung, Italian painter, Venetian school (b. 1659, Belluno, d. 1734,
Venezia).
Die Verehrung des Magi mk61
Gouache on twilled canvas
350x206cm
mk61 Gouache auf twilled Leinwand 350x206cm Spanish Early Renaissance Painter, ca.1450-1504
Die Verehrung des Magi mk61
c.1510
Oil on panel
138x33cm
das Öl von mk61 C. 1510 auf täfelt 138x33cm Netherlandish Northern Renaissance Painter, ca.1450-1516
Die Verehrung des Magi mk67
Tempera on panel
45 5/16x66 15/16in
Uffizi,Gallery
mk67 Tempera aufUnterausschuss 45 5/16x66 15/16in Uffizi Galerie Italian
c1370-c1424
Lorenzo Monaco Gallery
Italian painter, Venetian school (b. 1449, Venezia, d. 1512, Venezia)
Gemälde ID:: 31721
Die Verehrung des magi mk76
Painted probably between 1470 and 1480
Tempera on panel
20 1/2x11in
Hat mk76 wahrscheinlich zwischen 1470 und der Tempera von1480 auf Unterausschuss 20 1/2x11in. Angestrichen Italian painter, Venetian school (b. 1449, Venezia, d. 1512, Venezia)
Die Verehrung des Magi mk78
c.1435
Tempera on panel
39x56cm
Florence,
Museo di San Marco
der Tempera von mk78 C. 1435 auf täfelt 39x56cm Florenz Museo di SanktMarco Fra Angelico Galleries
b.c. 1400, Vicchio, Florence
d.Feb. 18, 1455, Rome
Die Verehrung des Magi mk78
Washington,National Gallery of Art
mk78 Washington Nationale Galerie der Kunst Italian
1406-1469
Fra Filippo Lippi Galleries
Die Verehrung des Magi mk78
c.1439-40
Tempera on panel,
diameter 84 cm,Berlin,
Staatliche Museen Preussischer Kulturbesitz.
Gemaldegalerie
mk78 c.1439-40 Tempera auf Unterausschuss Durchmesser 84 cm Berlin Hat Staatliche Preussischer Kulturbesitz Nachgesonnen. Gemaldegalerie Italian Early Renaissance Painter, ca.1400-1461
b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
Gemälde ID:: 42459
Die Verehrung des magi mk168
Oil on fir wood
75.5x170cm
Basel
mk168 Öl auf Tanne Holz 75.5x170cm Basel b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
Gemälde ID:: 42469
Die Verehrung des Magi mk168
100x114cm
Oil on coniferouswood
mk168 100x114cm Öl auf coniferouswood b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
Gemälde ID:: 62318
The Adoration of the Magi 232 x 115 cm Museum of Fine Arts, Budapest Around 1600 the dominant influence in Toledo was that of El Greco. The link with the master was strongest in the distinguished painter Luis Trist?n, who stressed the Tenebrist aspects of some of El Greco's work. Trist?n's development was interrupted by his premature death, but not before he had completed work of such merit as the altarpiece in Yepes (1616) and that of Santa Clara de Toledo which was finished in 1623. The Adoration of the Magi probably formed part of an altarpiece in the Jeronymite Convent of the Queen in Toledo, together with an Adoration of the Shepherds (now in Cambridge), Pentecost (now in Bucharest) and Resurrection (lost). It has the same composition as the Yepes altarpiece, however, the faces of the figures are different Toledo ca ,1585-1624
Italian painter, Venetian school (b. 1659, Belluno, d. 1734,
Venezia).
Gemälde ID:: 63048
The Adoration of the Magi 1726-30 Oil on canvas, 330,2 x 289,6 cm Royal Collection, Windsor The artist's bold and colourful treatment of the theme (Saint Matthew 2:9-11) is a link in Venetian painting between Paolo Veronese and Giovanni Battista Tiepolo. The composition is derived in its essentials from the altarpiece painted by Veronese in 1573 for the church of San Silvestro, Venice (now in the National Gallery, London) and anticipates the altarpiece painted by Tiepolo in 1753 for the monastery of Schwarzach in Franconia (now in the Alte Pinakothek, Munich). All three works are large, but the composition by Tiepolo differs from the others, which are almost square in format, by being compressed into a vertical. The Adoration of the Magi was acquired by George III in 1762 from Consul Joseph Smith and formed part of a series of seven pictures of New Testament subjects. The related paintings are Christ and the Woman who Believed, Christ and the Woman of Samaria, The Magdalen anointing Christ's Feet (all still in the Royal Collection), The Pool of Bethesda and The Woman taken in Adultery (Ministry of Works, presently at Osterley House) and The Sermon on the Mount, which is lost. All these paintings, with the exception of the present work, illustrate scenes from Christ's ministry. The origin of the commission for this series of paintings is unknown. The size of the undertaking (the dimensions in each case are extremely large and there are fundamental changes in format) has caused the series to be associated with an unrecorded commission for the Royal House of Savoy in Turin, for whom Ricci worked during the 1720s. The painting demonstrates Sebastiano Ricc's role in the evolution of Rococo art in Venice, which reached its climax in the work of Tiepolo. The setting of The Adoration of the Magi is dramatic, the brushwork full of verve and panache and the colours bright. Several changes in the composition can be seen with the naked eye, especially in the centre. The artist travelled extensively in Italy and also worked in England from 1711/12 to 1716, returning home via France. He formed a partnership with his nephew, Marco (1676-1730), who, according to Gherardi, painted the architectural background to The Adoration of the Magi and the related pictures. Artist: RICCI, Sebastiano Painting Title: The Adoration of the Magi , 1701-1750 Painting Style: Italian , , religious Italian painter, Venetian school (b. 1659, Belluno, d. 1734,
Venezia).
Gemälde ID:: 63815
The Adoration of the Magi 1502-03 Oil on canvas, 27 x 150 cm Pinacoteca, Vatican Extant drawings demonstrate the tremendous amount of thought which Raphael put into the realization of the Oddi Altarpiece and some details, notably the highly individual faces of the Apostles and the serene landscape in the background, are quite masterful. But the most meaningful passages are found in the predella scenes: the vast space which opens out beneath the colonnades of the Annunciation; the highly animated Adoration of the Magi; and the free quality of the atmosphere in the Presentation in the Temple, which foreshadows the extraordinary spatial intuition of some of the artist's future Vatican compositions.Artist:RAFFAELLO Sanzio Title: The Adoration of the Magi (Oddi altar) Painted in 1501-1550 , Italian - - painting : religious Italian High Renaissance Painter, 1483-1520
Gemälde ID:: 63959
The Adoration of the Magi 1380-90 Tempera on wood, 50 X 31 cm Museo Nazionale del Bargello, Florence The left-hand panel of this diptych depicts the adoration of the Infant Jesus by the Magi; the right-hand panel represents the Crucifixion. This is another of the pictures whose origin has been the subject of considerable speculation among scholars, for the international uniformity which is the hallmark of the International Gothic style has led to the picture being ascribed to Avignon, Paris, Franco-Flemish, Austrian and Bohemian artists. Perhaps the closest analogy can be found in the works of the Master of Trebon (the folds of the Virgin's mantle, undulating in a similar manner, or the insubstantial birds on the roof of the Bethlehem stable). On the other hand, these details could be coincidental, or derived from a common source; until the coat of arms on the ornate bed can be positively identified these questions will remain open to speculation. Seated on her canopied bed, the Virgin receives the homage of the Magi, who are taking off their crowns. In the upper left corner we can see the Magi and their horses assembling from different directions. In the bottom right corner Joseph is sitting; when the guests arrived he was warming his feet at a brazier. Now, like the Magi, he, too, takes off his headgear with a humble gesture. (If we want to find the prototype of the figure, we could see it in the representations of the month of February in calendars of books of hours: the figure of an elderly man warming himself at the fire was the personification of February.) The picture is a strange mixture of marked condensation and of anecdotal details. The story is circumstantially told by merely putting the most important characters and decor side by side. The wealth of small objects set beside one another gradually overlap and cover the whole surface of the picture. The Virgin's canopied bed is a throne too, while its top has a double role and is also the roof of the Bethlehem building crowded with dovecotes. The space left empty by the structure of the bed-throne is filled up by a bastion. Space, as a substance, is not conveyed; the motifs are linked with one another in the way the words of a sentence are. The star, for example, is given emphasis by the small spot of nocturnal darkness surrounding it and separating it from the golden background. , Artist: UNKNOWN MASTER, French , The Adoration of the Magi (Bargello Diptych) , 1351-1400 , French , painting , religious
Gemälde ID:: 63962
The Adoration of the Magi 44 x 30 cm Musee Bonnat, Bayonne , Artist: UNKNOWN MASTER, French , The Adoration of the Magi , 1451-1500 , French , painting , religious
Gemälde ID:: 63966
The Adoration of the Magi 1420 Tempera on pine, 100 x 81 cm Hessisches Landesmuseum, Darmstadt The picture is the right-side wing of a triptych (the Ortenberg Altarpiece), the central panel of which represents the Virgin and other members of her family, whilst on the left-hand wing the Nativity is depicted. The relatively large-size work, which used to decorate the high altar of the parish church of Ortenberg, was painted by a master of the Middle Rhineland, who was influenced by the Frech and Italian art of the period. The scene takes place in front of a golden background, in a narrow space, in surroundings which look like stage sets. The Virgin is seated on a red bed on the left in the tiny hut-small in proportion to the size of the figures-in Bethlehem and, holding the naked Infant on her lap. She receives the homage of the Magi who are arriving from the right. Strangely enough, the shed is attached to the dark rocks, whereas on the right it is directly adjacent to a tower in the town. With a na'ive ingenuity the painter represented the hut as if seen from above, while the tower is depicted from a point of view below it. Thus he was able to give the impression that the latter was higher. Without using this solution he would have been obliged to cut the tower into two and could not have shown the characteristic ridge of its roof. Or else, he should not have allowed the hut to reach the frame-and in this case what would have filled up the top left corner of the picture? Evidently it was important for him to fill up the whole surface of the picture. That is why he painted the jug above the bent back of Joseph, who is squatting in the left corner, and this is the purpose, among others, of the little red table and the bread-basket which is hung on the rocky wall. It is with infinite humility and devotion that the two kneeling Magi kiss the hand and the foot of Jesus. As an expression of their veneration they also take off their crown. The one nearer to the spectator puts it on the large table, a round object rather similar to the haloes, as if he were solemnly placing a gift on an altar. This symbolic meaning of the table is perhaps stressed by the bread-basket hung on the wall above the head of Jesus and which refers to the Eucharist. The frame, like a setting of some precious stone or noble metal, encloses the picture and contributes to its markedly sublime and solemn mood. Indeed, the painting is full of representation of fine examples of the goldsmith s art, e.g. the crowns, the gold sword and the huge, heavy haloes which resemble golden dishes, and what is more, the technique of the painting itself has affinities with the work executed by goldsmiths of the period. The silver underpaint of the garments lends a metallic sheen to the translucent, enamel-like top layer of yellowish paint. , Artist: UNKNOWN MASTER, German , The Adoration of the Magi , 1401-1450 , German , painting , religious
Gemälde ID:: 64195
The Adoration of the Magi 1624 Oil on panel Koninklijk Museum voor Schone Kunsten, Antwerp , Artist: RUBENS, Pieter Pauwel , The Adoration of the Magi (detail) , 1601-1650 , Flemish , painting , religious Flemish Baroque Era Painter, 1577-1640
Gemälde ID:: 65022
The Adoration of the Magi 1505 Oak, 57,2 x 50,7 cm Wallraf-Richartz Museum, Cologne In contrast to most of the large-scale and ceremonious images of the Magi in Cologne this small-format picture depicts an intimate and familiar scene. Idealism is combined with realistic observation. The artist of the panel is referred to as the Master of St Severin. , UNKNOWN MASTER, German , The Adoration of the Magi , 1501-1550 , German , painting , religious
Gemälde ID:: 80767
The Adoration of the Magi Date 15th century
Medium Oil on panel
Dimensions 124.5 x 112.5 cm (49 x 44.3 in)
cjr painted The Adoration of the Magi in 15th century
Gemälde ID:: 81110
The adoration of the Magi Date ca. 1560(1560)
Medium Oil on panel
Dimensions 167.5 x 180 cm (65.9 x 70.9 in)
cjr 1508-1575
Flemish
Pieter Aertsen Galleries
Gemälde ID:: 84104
The Adoration of the Magi Date ca. 1510(1510)
Medium Oil on wood
Dimensions Height: 138 cm (54.3 in). Width: 72 cm (28.3 in).
cjr Netherlandish Northern Renaissance Painter, ca.1450-1516
Gemälde ID:: 84579
The Adoration of the Magi Date ca. 1498(1498)
Medium Oil on wood
Dimensions Height: 56.8 cm (22.4 in). Width: 55 cm (21.7 in).
cjr Italian High Renaissance Painter, ca.1460-1530
Gemälde ID:: 84954
The Adoration of the Magi 15th century
Medium Oil on panel
Dimensions 124.5 x 112.5 cm (49 x 44.3 in)
cyf painted The Adoration of the Magi in 15th century
Gemälde ID:: 85186
The Adoration of the Magi Date 1658(1658)
Medium Oil on oak panel
Dimensions Height: 71 cm (28 in). Width: 55 cm (21.7 in).
cjr 1627-1697
Dutch
Gemälde ID:: 85189
The Adoration of the Magi Date between 1526(1526) and 1528(1528)
Medium Oil on oak panel
Dimensions Height: 251 cm (98.8 in). Width: 185 cm (72.8 in).
cjr Flemish Northern Renaissance Painter, ca.1485-1540
b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
Gemälde ID:: 86879
The Adoration of the Magi Date 1504(1504)
Medium Oil on wood
Dimensions Height: 100 cm (39.4 in). Width: 114 cm (44.9 in).
cjr b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
Gemälde ID:: 86912
The Adoration of the Magi Date c. 1470(1470)
Medium Oil on wood
Dimensions Height: 96.4 cm (38 in). Width: 147 cm (57.9 in).
cjr Netherlandish Northern Renaissance Painter, ca.1435-1494
painted Christ in the house of Martha and Mary in 16th/17th century
Gemälde ID:: 86922
The Adoration of the Magi Date between 1580(1580) and 1585(1585)
Medium Oil on slate
Dimensions Height: 35 cm (13.8 in). Width: 27 cm (10.6 in).
cjr painted Christ in the house of Martha and Mary in 16th/17th century
Gemälde ID:: 87591
The Adoration of the Magi Date c. 1445(1445)
Medium Oil on wood
Dimensions Height: 80 cm (31.5 in). Width: 56 cm (22 in).
cjr 1420-1475
Flemish
Dieric Bouts Locations
Gemälde ID:: 89056
The Adoration of the Magi c. 1510(1510)
Medium oil on wood
Dimensions Width: 33.6 cm (13.2 in). (of detail)
cjr Netherlandish Northern Renaissance Painter, ca.1450-1516
b.c. 1460, Oudewater, Neth.
d.Aug. 13, 1523, Bruges
Flemish
Gerard David Locations
Gemälde ID:: 89148
The Adoration of the Magi 1500(1500)
Medium oil on oak
cyf b.c. 1460, Oudewater, Neth.
d.Aug. 13, 1523, Bruges
Flemish
Gerard David Locations
Gemälde ID:: 89499
The Adoration of the Magi between 1526(1526) and 1528(1528)
Medium oil on oak panel
cyf Flemish Northern Renaissance Painter, ca.1485-1540
(1564 or 1565 - 10 October 1636) was a Flemish painter, known for numerous copies after his father Pieter Brueghel the Elder's paintings and nicknamed "Hell Brueghel" for his fantastic treatments of fire and grotesque imagery.
Pieter Brueghel the Younger was the oldest son of the famous sixteenth-century Netherlandish painter Pieter Brueghel the Elder (known as "Peasant Brueghel") and Mayken Coecke van Aelst. His father died in 1569, when Pieter the younger was only five years old. Then, following the death of his mother in 1578, Pieter, along with his brother Jan Brueghel the Elder ("Velvet Brueghel") and sister Marie, went to live with their grandmother Mayken Verhulst (widow of Pieter Coecke van Aelst). She was an artist in her own right, and according to Carel van Mander, possibly the first teacher of the two sons. The family moved to Antwerp sometime after 1578 and Pieter possibly entered the studio of the landscape painter Gillis van Coninxloo (1544 - 1607). In the 1584/1585 registers of Guild of Saint Luke, "Peeter Brugel" is listed as an independent master. On 5 November 1588 he married Elisabeth Goddelet, and the couple had seven children.
He painted landscapes, religious subjects and fantasy paintings. For this last category he often made use of fire and grotesque figures, leading to his nickname "Hell Brueghel".
Apart from these paintings of his own invention, Pieter Brueghel the Younger also copied the works his father had created by using a technique called pouncing. His genre paintings of peasants lack Pieter the Elder's subtlety and humanism, and emphasize the picturesque
Gemälde ID:: 90130
The Adoration of the Magi between 1590(1590) and 1638(1638)
Medium oil on panel
Dimensions 41 x 57 cm (16.1 x 22.4 in)
cjr (1564 or 1565 - 10 October 1636) was a Flemish painter, known for numerous copies after his father Pieter Brueghel the Elder's paintings and nicknamed "Hell Brueghel" for his fantastic treatments of fire and grotesque imagery.
Pieter Brueghel the Younger was the oldest son of the famous sixteenth-century Netherlandish painter Pieter Brueghel the Elder (known as "Peasant Brueghel") and Mayken Coecke van Aelst. His father died in 1569, when Pieter the younger was only five years old. Then, following the death of his mother in 1578, Pieter, along with his brother Jan Brueghel the Elder ("Velvet Brueghel") and sister Marie, went to live with their grandmother Mayken Verhulst (widow of Pieter Coecke van Aelst). She was an artist in her own right, and according to Carel van Mander, possibly the first teacher of the two sons. The family moved to Antwerp sometime after 1578 and Pieter possibly entered the studio of the landscape painter Gillis van Coninxloo (1544 - 1607). In the 1584/1585 registers of Guild of Saint Luke, "Peeter Brugel" is listed as an independent master. On 5 November 1588 he married Elisabeth Goddelet, and the couple had seven children.
He painted landscapes, religious subjects and fantasy paintings. For this last category he often made use of fire and grotesque figures, leading to his nickname "Hell Brueghel".
Apart from these paintings of his own invention, Pieter Brueghel the Younger also copied the works his father had created by using a technique called pouncing. His genre paintings of peasants lack Pieter the Elder's subtlety and humanism, and emphasize the picturesque
Vasco Fernandes (c.1475-c.1542), better known as Grão Vasco, was one of the main Portuguese Renaissance painters.
Vasco Fernandes was probably born in Viseu, in Northern Portugal, where he began his career in the team of painters executing the main altarpiece of Viseu Cathedral (1501-1506). Between 1506 and 1511 he painted the main altarpiece of Lamego Cathedral. After working in the Santa Cruz Monastery of Coimbra, Vasco Fernandes returned to Viseu and executed a series of altarpieces for Viseu Cathedral, considered his main works.
Most of his paintings hang nowadays in the Grão Vasco Museum, in Viseu.
Gemälde ID:: 90334
The Adoration of the Magi between 1501(1501) and 1506(1506)
Medium oil on panel
Dimensions Height: 132 cm (52 in). Width: 79 cm (31.1 in).
cyf Vasco Fernandes (c.1475-c.1542), better known as Grão Vasco, was one of the main Portuguese Renaissance painters.
Vasco Fernandes was probably born in Viseu, in Northern Portugal, where he began his career in the team of painters executing the main altarpiece of Viseu Cathedral (1501-1506). Between 1506 and 1511 he painted the main altarpiece of Lamego Cathedral. After working in the Santa Cruz Monastery of Coimbra, Vasco Fernandes returned to Viseu and executed a series of altarpieces for Viseu Cathedral, considered his main works.
Most of his paintings hang nowadays in the Grão Vasco Museum, in Viseu.
Gemälde ID:: 91029
The Adoration of the Magi first half of 16th century
Medium oil on oak panel
Dimensions Height: 83.4 cm (32.8 in). Width: 73.1 cm (28.8 in).
cyf
painted Christ in the house of Martha and Mary in 16th/17th century
Gemälde ID:: 91653
The Adoration of the Magi between 1580(1580) and 1585(1585)
Medium oil on slate
cyf painted Christ in the house of Martha and Mary in 16th/17th century
Gemälde ID:: 91657
The Adoration of the Magi 1470(1470)
Medium oil on panel
Dimensions Height: 96.4 cm (38 in). Width: 147 cm (57.9 in).
cyf Netherlandish Northern Renaissance Painter, ca.1435-1494
c. 1450 - 9 August 1516), was a Dutch painter. His work is known for its use of fantastic imagery to illustrate moral and religious concepts and narratives.
Hieronymus Bosch was born Hieronymus (or Jeroen, respectively the Latin and Middle Dutch form of the name "Jerome") van Aken (meaning "from Aachen"). He signed a number of his paintings as Bosch (pronounced Boss in Middle Dutch). The name derives from his birthplace, 's-Hertogenbosch, which is commonly called "Den Bosch".
Little is known of Bosches life or training. He left behind no letters or diaries, and what has been identified has been taken from brief references to him in the municipal records of 's-Hertogenbosch, and in the account books of the local order of the Brotherhood of Our Lady. Nothing is known of his personality or his thoughts on the meaning of his art. Bosches date of birth has not been determined with certainty. It is estimated at c. 1450 on the basis of a hand drawn portrait (which may be a self-portrait) made shortly before his death in 1516. The drawing shows the artist at an advanced age, probably in his late sixties
Gemälde ID:: 91923
The Adoration of the Magi c. 1554(1554)
Medium oil on panel
Dimensions 127.8 X 72.5 cm (50.3 X 28.5 in)
cjr c. 1450 - 9 August 1516), was a Dutch painter. His work is known for its use of fantastic imagery to illustrate moral and religious concepts and narratives.
Hieronymus Bosch was born Hieronymus (or Jeroen, respectively the Latin and Middle Dutch form of the name "Jerome") van Aken (meaning "from Aachen"). He signed a number of his paintings as Bosch (pronounced Boss in Middle Dutch). The name derives from his birthplace, 's-Hertogenbosch, which is commonly called "Den Bosch".
Little is known of Bosches life or training. He left behind no letters or diaries, and what has been identified has been taken from brief references to him in the municipal records of 's-Hertogenbosch, and in the account books of the local order of the Brotherhood of Our Lady. Nothing is known of his personality or his thoughts on the meaning of his art. Bosches date of birth has not been determined with certainty. It is estimated at c. 1450 on the basis of a hand drawn portrait (which may be a self-portrait) made shortly before his death in 1516. The drawing shows the artist at an advanced age, probably in his late sixties
Gemälde ID:: 93196
The Adoration of the Magi between 1468(1468) and 1560(1560)
Medium oil, tempera and gold on panel
Dimensions 71.1 X 56.5 cm (28 X 22.2 in)
cjr Netherlandish Northern Renaissance Painter, ca.1450-1516
Gemälde ID:: 96333
The Adoration of the Magi 15th century
Medium oil on panel
Dimensions 124.5 X 112.5 cm
cyf painted The Adoration of the Magi in 15th century
German Northern Renaissance Painter, active 1434-1450
Gemälde ID:: 96862
The Adoration of the Magi 15th century
Medium oil on panel
Dimensions 124.5 X 112.5 cm
cyf German Northern Renaissance Painter, active 1434-1450
(1689 - 17 August 1767) was an Italian painter of the late-Baroque or Roccoco period, active mainly in the Veneto but also in Dresden and Munich.
His earliest training was in his native town of Belluno with Antonio Lazzarini, then moved to Venice, to the studio of Gregorio Lazzarini and later that of Sebastiano Ricci. He was seven years older, but otherwise his career was contemporary with the Lazzarini and Ricci fellow-pupil, Giovanni Battista Tiepolo.
Between 1710-1720, he painted a group of eight pictures that included the Mary Magdalene for the church of San Stefano in Belluno, and Entry into Jerusalem for San Teodoro in Venice. He also painted three frescoes on the Life of Saint Helena in the Scuola del Vin next to the church of San Silvestro. Dizianies celerity and technical assurance are evident preparatory oil sketches, with color applied in rapid and spirited strokes.
He was also working as a scenery painter for the theater and opera in Venice, Munich (1717), and later in Dresden, working with Alessandro Mauro. Diziani was invited to Rome by Cardinal Ottoboni in 1726, to paint a emagnificent decoration for the church of San Lorenzo in Damaso. The decoration is now known only through an engraving by Claude Vasconi.
The Sala dei Pastelli in Ca' Rezzonico has an sotto in su allegorical ceiling fresco presenting Triumph of Poetry (Poetry surrounded by Painting, Architecture, Music and Sculpture).
Gemälde ID:: 98433
The Adoration of the Magi 1718(1718)
Medium oil on canvas
Dimensions Height: 94 cm (37 in). Width: 110 cm (43.3 in).
(1689 - 17 August 1767) was an Italian painter of the late-Baroque or Roccoco period, active mainly in the Veneto but also in Dresden and Munich.
His earliest training was in his native town of Belluno with Antonio Lazzarini, then moved to Venice, to the studio of Gregorio Lazzarini and later that of Sebastiano Ricci. He was seven years older, but otherwise his career was contemporary with the Lazzarini and Ricci fellow-pupil, Giovanni Battista Tiepolo.
Between 1710-1720, he painted a group of eight pictures that included the Mary Magdalene for the church of San Stefano in Belluno, and Entry into Jerusalem for San Teodoro in Venice. He also painted three frescoes on the Life of Saint Helena in the Scuola del Vin next to the church of San Silvestro. Dizianies celerity and technical assurance are evident preparatory oil sketches, with color applied in rapid and spirited strokes.
He was also working as a scenery painter for the theater and opera in Venice, Munich (1717), and later in Dresden, working with Alessandro Mauro. Diziani was invited to Rome by Cardinal Ottoboni in 1726, to paint a emagnificent decoration for the church of San Lorenzo in Damaso. The decoration is now known only through an engraving by Claude Vasconi.
The Sala dei Pastelli in Ca' Rezzonico has an sotto in su allegorical ceiling fresco presenting Triumph of Poetry (Poetry surrounded by Painting, Architecture, Music and Sculpture).
(1689 - 17 August 1767) was an Italian painter of the late-Baroque or Roccoco period, active mainly in the Veneto but also in Dresden and Munich.
His earliest training was in his native town of Belluno with Antonio Lazzarini, then moved to Venice, to the studio of Gregorio Lazzarini and later that of Sebastiano Ricci. He was seven years older, but otherwise his career was contemporary with the Lazzarini and Ricci fellow-pupil, Giovanni Battista Tiepolo.
Between 1710-1720, he painted a group of eight pictures that included the Mary Magdalene for the church of San Stefano in Belluno, and Entry into Jerusalem for San Teodoro in Venice. He also painted three frescoes on the Life of Saint Helena in the Scuola del Vin next to the church of San Silvestro. Dizianies celerity and technical assurance are evident preparatory oil sketches, with color applied in rapid and spirited strokes.
He was also working as a scenery painter for the theater and opera in Venice, Munich (1717), and later in Dresden, working with Alessandro Mauro. Diziani was invited to Rome by Cardinal Ottoboni in 1726, to paint a emagnificent decoration for the church of San Lorenzo in Damaso. The decoration is now known only through an engraving by Claude Vasconi.
The Sala dei Pastelli in Ca' Rezzonico has an sotto in su allegorical ceiling fresco presenting Triumph of Poetry (Poetry surrounded by Painting, Architecture, Music and Sculpture).
Gemälde ID:: 98435
The Adoration of the Magi 1705 - 1760
Medium oil on canvas
Dimensions 30.5 x 40 cm (12 x 15.7 in)
(1689 - 17 August 1767) was an Italian painter of the late-Baroque or Roccoco period, active mainly in the Veneto but also in Dresden and Munich.
His earliest training was in his native town of Belluno with Antonio Lazzarini, then moved to Venice, to the studio of Gregorio Lazzarini and later that of Sebastiano Ricci. He was seven years older, but otherwise his career was contemporary with the Lazzarini and Ricci fellow-pupil, Giovanni Battista Tiepolo.
Between 1710-1720, he painted a group of eight pictures that included the Mary Magdalene for the church of San Stefano in Belluno, and Entry into Jerusalem for San Teodoro in Venice. He also painted three frescoes on the Life of Saint Helena in the Scuola del Vin next to the church of San Silvestro. Dizianies celerity and technical assurance are evident preparatory oil sketches, with color applied in rapid and spirited strokes.
He was also working as a scenery painter for the theater and opera in Venice, Munich (1717), and later in Dresden, working with Alessandro Mauro. Diziani was invited to Rome by Cardinal Ottoboni in 1726, to paint a emagnificent decoration for the church of San Lorenzo in Damaso. The decoration is now known only through an engraving by Claude Vasconi.
The Sala dei Pastelli in Ca' Rezzonico has an sotto in su allegorical ceiling fresco presenting Triumph of Poetry (Poetry surrounded by Painting, Architecture, Music and Sculpture).
Gaspare Diziani (1689 - 17 August 1767) was an Italian painter of the late-Baroque or Roccoco period, active mainly in the Veneto but also in Dresden and Munich.
His earliest training was in his native town of Belluno with Antonio Lazzarini, then moved to Venice, to the studio of Gregorio Lazzarini and later that of Sebastiano Ricci. He was seven years older, but otherwise his career was contemporary with the Lazzarini and Ricci fellow-pupil, Giovanni Battista Tiepolo.
Between 1710-1720, he painted a group of eight pictures that included the Mary Magdalene for the church of San Stefano in Belluno, and Entry into Jerusalem for San Teodoro in Venice. He also painted three frescoes on the Life of Saint Helena in the Scuola del Vin next to the church of San Silvestro. Dizianies celerity and technical assurance are evident preparatory oil sketches, with color applied in rapid and spirited strokes.
He was also working as a scenery painter for the theater and opera in Venice, Munich (1717), and later in Dresden, working with Alessandro Mauro. Diziani was invited to Rome by Cardinal Ottoboni in 1726, to paint a emagnificent decoration for the church of San Lorenzo in Damaso. The decoration is now known only through an engraving by Claude Vasconi.
The Sala dei Pastelli in Ca' Rezzonico has an sotto in su allegorical ceiling fresco presenting Triumph of Poetry (Poetry surrounded by Painting, Architecture, Music and Sculpture).
The Adoration of the Magi
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